This weekend, the box office looked more like a Wasteland than the fruitful Green Place of Many Mothers.
“Furiosa: A Mad Max Saga” underperformed in its box office debut with $25.6 million between Friday and Sunday and an estimated $31 million through Memorial Day on Monday. Instead of ruling the box office as expected, it’s in a shockingly close race for first place with Sony’s animated “The Garfield Movie,” which collected $24.8 million over the weekend and an estimated $31 million through the four days. Neither could salvage the holiday weekend, which is the worst it’s been in nearly three decades.
It wasn’t just domestic audiences that failed to show up for “Furiosa.” The fifth entry in director George Miller’s post-apocalyptic series, starring Anya Taylor-Joy and Chris Hemsworth, is stalling at the international box office with $33.3 million from 75 territories, bringing its worldwide tally to $58.9 million. It’s a tough...
“Furiosa: A Mad Max Saga” underperformed in its box office debut with $25.6 million between Friday and Sunday and an estimated $31 million through Memorial Day on Monday. Instead of ruling the box office as expected, it’s in a shockingly close race for first place with Sony’s animated “The Garfield Movie,” which collected $24.8 million over the weekend and an estimated $31 million through the four days. Neither could salvage the holiday weekend, which is the worst it’s been in nearly three decades.
It wasn’t just domestic audiences that failed to show up for “Furiosa.” The fifth entry in director George Miller’s post-apocalyptic series, starring Anya Taylor-Joy and Chris Hemsworth, is stalling at the international box office with $33.3 million from 75 territories, bringing its worldwide tally to $58.9 million. It’s a tough...
- 5/26/2024
- by Rebecca Rubin
- Variety Film + TV
Imperator Furiosa has battled ruthless kidnappers, raider attacks and maniacal warlords as she traverses a lawless Wasteland. And yet her fiercest adversary, at least today, seems to be a lazy cat who loves lasagna.
The Warner Bros. high-octane prequel “Furiosa: A Mad Max Saga” is facing off against Sony’s animated “The Garfield Movie” for first place on box office charts over Memorial Day weekend. Each movie has generated roughly $25 million over the weekend and an estimated $31 million through Monday. Both studios are reporting that its own movie has ranked No. 1. Whichever pulls ahead, it’ll be the worst Memorial Day opening weekend in nearly three decades.
For movie theaters, it’s yet another sparkless weekend at the summer box office — with recent would-be blockbusters ranging from just fine (“Kingdom of the Planet of the Apes” with a $58 million debut) to disappointing (“The Fall Guy” with a $27 million debut; “If...
The Warner Bros. high-octane prequel “Furiosa: A Mad Max Saga” is facing off against Sony’s animated “The Garfield Movie” for first place on box office charts over Memorial Day weekend. Each movie has generated roughly $25 million over the weekend and an estimated $31 million through Monday. Both studios are reporting that its own movie has ranked No. 1. Whichever pulls ahead, it’ll be the worst Memorial Day opening weekend in nearly three decades.
For movie theaters, it’s yet another sparkless weekend at the summer box office — with recent would-be blockbusters ranging from just fine (“Kingdom of the Planet of the Apes” with a $58 million debut) to disappointing (“The Fall Guy” with a $27 million debut; “If...
- 5/26/2024
- by Rebecca Rubin
- Variety Film + TV
Not exactly the opening weekend that dreams are made of.
Director John Krasinski’s “If,” a fantasy-comedy that promises your imaginary friends from childhood are real, fell slightly short of box office expectations with $35 million. Heading into the weekend, “If” was expected to bring in at least $40 million in its first weekend of release. Based on Friday’s turnout, it looked like “If” would open to $30 million but projections were revised up after Saturday’s strong showing. Ticket sales were enough for first place, but it’s a wobbly start for a PG family film that cost $110 million to make and many millions more to market. It collected an additional $20 million overseas for a global total of $55 million.
The good news for Paramount Pictures, which distributed “If,” is that audiences dug the film, giving it an “A” CinemaScore. Ideally, it’ll have staying power like recent original kid-friendly movies, including “Migration” and “Elemental,...
Director John Krasinski’s “If,” a fantasy-comedy that promises your imaginary friends from childhood are real, fell slightly short of box office expectations with $35 million. Heading into the weekend, “If” was expected to bring in at least $40 million in its first weekend of release. Based on Friday’s turnout, it looked like “If” would open to $30 million but projections were revised up after Saturday’s strong showing. Ticket sales were enough for first place, but it’s a wobbly start for a PG family film that cost $110 million to make and many millions more to market. It collected an additional $20 million overseas for a global total of $55 million.
The good news for Paramount Pictures, which distributed “If,” is that audiences dug the film, giving it an “A” CinemaScore. Ideally, it’ll have staying power like recent original kid-friendly movies, including “Migration” and “Elemental,...
- 5/19/2024
- by Rebecca Rubin
- Variety Film + TV
Updated: Primates ruled over the North American box office, as “Kingdom of the Planet of the Apes” collected $58.5 million in its first weekend of release.
That’s ahead of Sunday’s estimates of $56.8 million and enough to score the third-best opening of the year behind “Dune: Part Two” ($82 million) and “Godzilla x Kong: The New Empire” ($80 million).
Inaugural sales for “Kingdom of the Planet of the Apes” landed above early projections of $50 million to $55 million and towered over the nonexistent competition. “Kingdom of the Planet of the Apes” opened roughly even with two of the three prior installments in the rebooted franchise, landing behind only 2014’s “Dawn of the Planet of the Apes” (a series-best $72 million) and ahead of 2017’s “War for the Planet of the Apes” ($56.2 million) and 2011’s “Rise of the Planet of the Apes” ($54.8 million).
“The weekend figure is roughly average for the genre, but average here...
That’s ahead of Sunday’s estimates of $56.8 million and enough to score the third-best opening of the year behind “Dune: Part Two” ($82 million) and “Godzilla x Kong: The New Empire” ($80 million).
Inaugural sales for “Kingdom of the Planet of the Apes” landed above early projections of $50 million to $55 million and towered over the nonexistent competition. “Kingdom of the Planet of the Apes” opened roughly even with two of the three prior installments in the rebooted franchise, landing behind only 2014’s “Dawn of the Planet of the Apes” (a series-best $72 million) and ahead of 2017’s “War for the Planet of the Apes” ($56.2 million) and 2011’s “Rise of the Planet of the Apes” ($54.8 million).
“The weekend figure is roughly average for the genre, but average here...
- 5/12/2024
- by Rebecca Rubin
- Variety Film + TV
Despite garnering positive reviews after its premiere at the 2024 SXSW, the action comedy film The Fall Guy failed to meet the box office expectations after it finally hit the theatres on May 3. The film, which was projected to make at least $30 million in its opening weekend, has fallen short to $28.5 million.
Ryan Gosling and Emily Blunt in The Fall Guy | Credit: Universal Pictures
While some attribute the underwhelming box office performance to the availability of day-and-date PVOD on Disney+, experts argue that the film’s reception is consistent with the challenges faced by original action comedies in theaters.
Expert Analyse the Reason Behind The Fall Guy’s Box Office Struggles
Following what has been described as a disappointing box-office performance, industry expert Scott Mendelson has shared his argument on why the PVOD release strategy might not be the sole reason behind The Fall Guy’s underwhelming opening at the box office.
Ryan Gosling and Emily Blunt in The Fall Guy | Credit: Universal Pictures
While some attribute the underwhelming box office performance to the availability of day-and-date PVOD on Disney+, experts argue that the film’s reception is consistent with the challenges faced by original action comedies in theaters.
Expert Analyse the Reason Behind The Fall Guy’s Box Office Struggles
Following what has been described as a disappointing box-office performance, industry expert Scott Mendelson has shared his argument on why the PVOD release strategy might not be the sole reason behind The Fall Guy’s underwhelming opening at the box office.
- 5/5/2024
- by Laxmi Rajput
- FandomWire
“The Fall Guy,” an action-comedy starring Ryan Gosling and Emily Blunt, kicked off the summer movie season without much sizzle.
The film, backed by Universal and directed by David Leitch, fell just short of expectations with $28.5 million from 4,002 North American venues in its debut. Heading into the weekend, “The Fall Guy” was projected to earn at least $30 million to $40 million. The trouble is that the movie cost $140 million to produce, so it needs strong word of mouth and interest at the international box office to recoup its budget during its theatrical run. “The Fall Guy” opened to $25.4 million overseas, bringing its global total to $65.4 million.
“This is a fair opening for a big action-comedy,” says David A. Gross of movie consulting firm Franchise Entertainment Research. “Action comedies are solid performers overseas, and with this cast, foreign business should be good. At [its] cost, ‘The Fall Guy’ is going to need a long run.
The film, backed by Universal and directed by David Leitch, fell just short of expectations with $28.5 million from 4,002 North American venues in its debut. Heading into the weekend, “The Fall Guy” was projected to earn at least $30 million to $40 million. The trouble is that the movie cost $140 million to produce, so it needs strong word of mouth and interest at the international box office to recoup its budget during its theatrical run. “The Fall Guy” opened to $25.4 million overseas, bringing its global total to $65.4 million.
“This is a fair opening for a big action-comedy,” says David A. Gross of movie consulting firm Franchise Entertainment Research. “Action comedies are solid performers overseas, and with this cast, foreign business should be good. At [its] cost, ‘The Fall Guy’ is going to need a long run.
- 5/5/2024
- by Rebecca Rubin
- Variety Film + TV
A24’s dystopian thriller “Civil War” conquered the box office again, fending off three new releases to retain the top spot on North American charts.
Alex Garland’s film, starring Kirsten Dunst as a photojournalist who traverses a violently divided United States, added $11.12 million in its second weekend of release. It has generated $44.8 million so far and already stands as one of A24’s top five highest-grossing movies of all time. With a $50 million price tag, it’s also the indie distributor’s most expensive film to date.
Though it was a close race, “Civil War” charged ahead of a trio of newcomers — Universal’s vampire horror film “Abigail,” director Guy Ritchie’s “The Ministry of Ungentlemanly Warfare” and Sony and Crunchyroll’s anime adventure “Spy x Family Code: White” — which all opened to mixed results.
Heading into the weekend, “Abigail” was predicted to top the box office with $12 million to $15 million in its debut.
Alex Garland’s film, starring Kirsten Dunst as a photojournalist who traverses a violently divided United States, added $11.12 million in its second weekend of release. It has generated $44.8 million so far and already stands as one of A24’s top five highest-grossing movies of all time. With a $50 million price tag, it’s also the indie distributor’s most expensive film to date.
Though it was a close race, “Civil War” charged ahead of a trio of newcomers — Universal’s vampire horror film “Abigail,” director Guy Ritchie’s “The Ministry of Ungentlemanly Warfare” and Sony and Crunchyroll’s anime adventure “Spy x Family Code: White” — which all opened to mixed results.
Heading into the weekend, “Abigail” was predicted to top the box office with $12 million to $15 million in its debut.
- 4/21/2024
- by Rebecca Rubin
- Variety Film + TV
Director Alex Garland’s provocative dystopian thriller “Civil War” lit up the box office with $25.7 million in its debut. It’s the first A24 movie to lead the charts in North America, setting an opening weekend record for the New York-based specialty studio. It also marks the biggest R-rated start of the year.
Heading into the weekend, “Civil War” was projected to kick off with $15 million to $20 million. Those ticket sales would have been enough to overtake 2018’s “Hereditary” (which opened in fourth place to $13.6 million) as A24’s biggest debut. But the film, starring Kirsten Dunst as a journalist who traverses a violently divided United States, is benefitting from curiosity among moviegoers and premium large formats like Imax and Dolby Cinemas. According to the studio, “Civil War” overperformed in markets like Los Angeles and El Paso, Texas.
“Civil War” landed a “B-” CinemaScore, which wouldn’t bode well for...
Heading into the weekend, “Civil War” was projected to kick off with $15 million to $20 million. Those ticket sales would have been enough to overtake 2018’s “Hereditary” (which opened in fourth place to $13.6 million) as A24’s biggest debut. But the film, starring Kirsten Dunst as a journalist who traverses a violently divided United States, is benefitting from curiosity among moviegoers and premium large formats like Imax and Dolby Cinemas. According to the studio, “Civil War” overperformed in markets like Los Angeles and El Paso, Texas.
“Civil War” landed a “B-” CinemaScore, which wouldn’t bode well for...
- 4/14/2024
- by Rebecca Rubin
- Variety Film + TV
Sydney Sweeney is no doubt dominating the big screen with her movies; after Anyone But You and Madame Web, she’s now basking in the glory of her latest horror film, Immaculate. The movie was highly praised by actress and host Drew Barrymore on her show where Sweeney recently appeared.
Sydney Sweeney in Immaculate
Many have noticed the similarities between Immaculate and the heavily criticized film Rosemary’s Baby before the actress revealed taking some inspiration from it. For horror fans, it was easy to detect the parallels.
Sydney Sweeney On The Inspiration Behind Horror-Mystery Film Immaculate
During her guesting on The Drew Barrymore Show, actress Sydney Sweeney shared she got her passion for horror movies from her father. She also mentioned the inspiration for Immaculate.
“He introduced me to the horror genre because he was a fan of horror films, loved horror films. Like Halloween is his favourite holiday. Rosemary’s Baby...
Sydney Sweeney in Immaculate
Many have noticed the similarities between Immaculate and the heavily criticized film Rosemary’s Baby before the actress revealed taking some inspiration from it. For horror fans, it was easy to detect the parallels.
Sydney Sweeney On The Inspiration Behind Horror-Mystery Film Immaculate
During her guesting on The Drew Barrymore Show, actress Sydney Sweeney shared she got her passion for horror movies from her father. She also mentioned the inspiration for Immaculate.
“He introduced me to the horror genre because he was a fan of horror films, loved horror films. Like Halloween is his favourite holiday. Rosemary’s Baby...
- 4/14/2024
- by Ariane Cruz
- FandomWire
“Godzilla x Kong: The New Empire” dominated the domestic box office again, looming large over newcomers “Monkey Man” and “The First Omen.”
Warner Bros. and Legendary Entertainment’s monster tentpole added $31.7 million from 3,948 theaters in its second weekend of release. Ticket sales dropped a standard (for a tentpole of its size and scale) 60% from its mighty $80 million debut and stand at $132 million domestically and $361 million globally.
First-time director Dev Patel’s action thriller “Monkey Man” nabbed second place with $10.1 million from 3,029 venues, while Disney and 20th Century’s supernatural prequel “The First Omen” trailed at the No. 4 spot with a muted $8.4 million from 3,375 locations.
Both “Monkey Man” and “The First Omen” were destined for streaming — and not the big screen. With “Monkey Man,” originally set at Netflix, Universal Pictures landed rights for $10 million after filmmaker Jordan Peele (whose production company has a distribution deal with Universal) saw the movie and...
Warner Bros. and Legendary Entertainment’s monster tentpole added $31.7 million from 3,948 theaters in its second weekend of release. Ticket sales dropped a standard (for a tentpole of its size and scale) 60% from its mighty $80 million debut and stand at $132 million domestically and $361 million globally.
First-time director Dev Patel’s action thriller “Monkey Man” nabbed second place with $10.1 million from 3,029 venues, while Disney and 20th Century’s supernatural prequel “The First Omen” trailed at the No. 4 spot with a muted $8.4 million from 3,375 locations.
Both “Monkey Man” and “The First Omen” were destined for streaming — and not the big screen. With “Monkey Man,” originally set at Netflix, Universal Pictures landed rights for $10 million after filmmaker Jordan Peele (whose production company has a distribution deal with Universal) saw the movie and...
- 4/7/2024
- by Rebecca Rubin
- Variety Film + TV
The Ghostbusters Netflix Series Is In Development, With Scripts & Key Art In The Works. (Photo Credit – Instagram)
Gil Kenan, the director of Frozen Empire, dropped some news about the Ghostbusters Netflix cartoon. It’s called “Ghostbusters: Frozen Empire” and picks up after the 2021 flick “Ghostbusters: Afterlife,” mixing in both new and old Ghostbusters characters. These recent movies are like building on the universe set up in the ’80s originals, just like how “The Real Ghostbusters” cartoon did from ’86 to ’91, and its follow-up “Extreme Ghostbusters” in ’97.
Kenan was chatting on “A Trip to the Movies with Alex Zane” about this new Ghostbusters cartoon for Netflix. He said that he had just checked out this big art presentation for the show and that they were full steam ahead with making scripts and artwork. While he remained somewhat cryptic regarding specific details, he expressed that the current era presents an exhilarating opportunity for...
Gil Kenan, the director of Frozen Empire, dropped some news about the Ghostbusters Netflix cartoon. It’s called “Ghostbusters: Frozen Empire” and picks up after the 2021 flick “Ghostbusters: Afterlife,” mixing in both new and old Ghostbusters characters. These recent movies are like building on the universe set up in the ’80s originals, just like how “The Real Ghostbusters” cartoon did from ’86 to ’91, and its follow-up “Extreme Ghostbusters” in ’97.
Kenan was chatting on “A Trip to the Movies with Alex Zane” about this new Ghostbusters cartoon for Netflix. He said that he had just checked out this big art presentation for the show and that they were full steam ahead with making scripts and artwork. While he remained somewhat cryptic regarding specific details, he expressed that the current era presents an exhilarating opportunity for...
- 3/27/2024
- by Hari P N
- KoiMoi
“Ghostbusters: Frozen Empire” ruled over the domestic box office and arrived on the higher end of expectations.
The latest installment in Sony’s supernatural comedy series has collected $45.2 million in its debut in 4,345 North American theaters. Earlier in the weekend, “Frozen Empire” looked like it would top out with $42 million but estimates were revised up after a bigger-than-expected Sunday. At the international box office, the film ignited to a tepid $16.4 million from 25 markets for a global start of $61 million.
Still, those domestic ticket sales are just barely ahead of its 2021 predecessor, “Ghostbusters: Afterlife,” which earned $44 million to start while the box office was deep in pandemic recovery mode. It’s a sign that the 30-year-old franchise hasn’t expanded its constituency beyond the original (and aging) core fans of the business of busting ghosts.
Plus, “Frozen Empire” carries a bigger budget than the last one, costing $100 million to produce and many millions more to market.
The latest installment in Sony’s supernatural comedy series has collected $45.2 million in its debut in 4,345 North American theaters. Earlier in the weekend, “Frozen Empire” looked like it would top out with $42 million but estimates were revised up after a bigger-than-expected Sunday. At the international box office, the film ignited to a tepid $16.4 million from 25 markets for a global start of $61 million.
Still, those domestic ticket sales are just barely ahead of its 2021 predecessor, “Ghostbusters: Afterlife,” which earned $44 million to start while the box office was deep in pandemic recovery mode. It’s a sign that the 30-year-old franchise hasn’t expanded its constituency beyond the original (and aging) core fans of the business of busting ghosts.
Plus, “Frozen Empire” carries a bigger budget than the last one, costing $100 million to produce and many millions more to market.
- 3/24/2024
- by Rebecca Rubin
- Variety Film + TV
Simon Cellan Jones-directed Arthur the King was born as a promising flick to do well on the big screen, and Lionsgate had all the reasons to believe in it. But the road to tackle the competitors was not smooth as the move was scrapped badly.
Mark Wahlberg in Arthur the King (2024)
In hindsight, there is not one single reason for the bumpy road to the Mark Wahlberg-led movie. Dog movies that have done quite well in the past include Channing Tatum’s movie, Dog. But what led to the downfall of Arthur the King? What went wrong? One mistake from Lionsgate may have pushed the movie to the edge of box-office doom.
The Lionsgate Move That Proved To Be Fatal For Mark Wahlberg’s Arthur the King
Mark Wahlberg as Michael Light in Arthur the King
Mark Wahlberg’s Arthur the King has all it takes to hit the...
Mark Wahlberg in Arthur the King (2024)
In hindsight, there is not one single reason for the bumpy road to the Mark Wahlberg-led movie. Dog movies that have done quite well in the past include Channing Tatum’s movie, Dog. But what led to the downfall of Arthur the King? What went wrong? One mistake from Lionsgate may have pushed the movie to the edge of box-office doom.
The Lionsgate Move That Proved To Be Fatal For Mark Wahlberg’s Arthur the King
Mark Wahlberg as Michael Light in Arthur the King
Mark Wahlberg’s Arthur the King has all it takes to hit the...
- 3/18/2024
- by Lachit Roy
- FandomWire
Universal and DreamWorks Animation’s “Kung Fu Panda 4” remained victorious at the domestic box office, collecting a solid $30 million in its second weekend of release. After 10 days on the big screen, the animated family film has grossed $107.7 million in North America and $176.5 million globally.
Those ticket sales easily surpassed the debut of Mark Wahlberg’s canine drama “Arthur the King,” which opened in third place. It arrived on the lower end of expectations with a soft $7.5 million from 3,003 theaters. Lionsgate spent $19 million on the feel-good story, about a man who befriends a wounded stray dog, so its modest price tag could soften its box office shortcomings. Though critics weren’t fond of “Arthur the King” (it has a 64% on Rotten Tomatoes), moviegoers were more receptive and gave the film an “A” grade on CinemaScore.
“It’s not a family film or a comedy, but it’s not a hard...
Those ticket sales easily surpassed the debut of Mark Wahlberg’s canine drama “Arthur the King,” which opened in third place. It arrived on the lower end of expectations with a soft $7.5 million from 3,003 theaters. Lionsgate spent $19 million on the feel-good story, about a man who befriends a wounded stray dog, so its modest price tag could soften its box office shortcomings. Though critics weren’t fond of “Arthur the King” (it has a 64% on Rotten Tomatoes), moviegoers were more receptive and gave the film an “A” grade on CinemaScore.
“It’s not a family film or a comedy, but it’s not a hard...
- 3/17/2024
- by Rebecca Rubin
- Variety Film + TV
Universal and DreamWork’s animated adventure “Kung Fu Panda 4” topped the domestic box office, earning a solid $58.3 million from 4,035 theaters in its opening weekend.
It marks the biggest debut of the franchise since the original, 2008’s “Kung Fu Panda” ($60 million), overtaking the start of the two prior entries, 2016’s “Kung Fu Panda 3” ($41 million) and 2011’s “Kung Fu Panda 2” ($47.6 million), not adjusted for inflation.
“Family audiences were primed to come out and have fun with a much-beloved franchise,” says Jim Orr, Universal’s president of domestic distribution. “Animated movies tend to leg out. We anticipate a tremendous corridor.”
Internationally, the fourth film in the martial arts-inspired animated comedy collected $22 million from 41 markets for a global tally of $80 million. This installment cost $85 million to produce, a lower price tag than the first three movies, each of which cost about $150 million. Jack Black returned to voice the main character in “Kung Fu Panda 4,...
It marks the biggest debut of the franchise since the original, 2008’s “Kung Fu Panda” ($60 million), overtaking the start of the two prior entries, 2016’s “Kung Fu Panda 3” ($41 million) and 2011’s “Kung Fu Panda 2” ($47.6 million), not adjusted for inflation.
“Family audiences were primed to come out and have fun with a much-beloved franchise,” says Jim Orr, Universal’s president of domestic distribution. “Animated movies tend to leg out. We anticipate a tremendous corridor.”
Internationally, the fourth film in the martial arts-inspired animated comedy collected $22 million from 41 markets for a global tally of $80 million. This installment cost $85 million to produce, a lower price tag than the first three movies, each of which cost about $150 million. Jack Black returned to voice the main character in “Kung Fu Panda 4,...
- 3/10/2024
- by Rebecca Rubin
- Variety Film + TV
Paramount’s musical biopic “Bob Marley: One Love” ruled again over a barren box office landscape.
The film added $13.5 million from 3,925 North American theaters in its second weekend of release, a 53% decline from its debut. “One Love” has been a surprise box office success with $71.1 million domestically and $120 million globally. It cost $70 million, and the studio only gets to keep roughly half of ticket sales, so it’ll need to keep singing in theaters to justify its cost.
“Bob Marley” topped the charts for the second consecutive weekend despite three new releases. Sony and Crunchyroll’s anime sequel “Demon Slayer: Kimetsu no Yaiba — To the Hashira Training” fared the best among newcomers with $11.5 million from 1,949 theaters — enough for the No. 2 spot.
Hilary Swank’s inspirational drama “Ordinary Angels” opened in third place with an uninspired $6.2 million from 3,020 venues, while director Ethan Coen’s comedic thriller “Drive-Away Dolls” crash-landed in eighth...
The film added $13.5 million from 3,925 North American theaters in its second weekend of release, a 53% decline from its debut. “One Love” has been a surprise box office success with $71.1 million domestically and $120 million globally. It cost $70 million, and the studio only gets to keep roughly half of ticket sales, so it’ll need to keep singing in theaters to justify its cost.
“Bob Marley” topped the charts for the second consecutive weekend despite three new releases. Sony and Crunchyroll’s anime sequel “Demon Slayer: Kimetsu no Yaiba — To the Hashira Training” fared the best among newcomers with $11.5 million from 1,949 theaters — enough for the No. 2 spot.
Hilary Swank’s inspirational drama “Ordinary Angels” opened in third place with an uninspired $6.2 million from 3,020 venues, while director Ethan Coen’s comedic thriller “Drive-Away Dolls” crash-landed in eighth...
- 2/25/2024
- by Rebecca Rubin
- Variety Film + TV
Denis Villeneuve’s Dune Part 2 is fast approaching, and fans certainly cannot wait to see the continuation of the Frank Herbert novel’s big-screen adaptation. Some of the most notable features of the movie are the settings, costumes, and star-studded cast, which many would believe too expensive to make.
Dune (2021)
It’s actually more cost-effective than Marvel Studios’ The Marvels. Fans would remember how the infamous box-office bomb starring Brie Larson gave an underwhelming performance despite its lucrative marketing.
SUGGESTEDThe 1 Thing Jason Momoa Was Ready to Do for Denis Villeneuve Every Morning to Thank Him for Dune Dune Part 2 Budget And Potential Box Office Success
According to Variety, Timothée Chalamet’s Dune Part 2 reportedly cost $190 million. The hype around the movie is already gaining momentum so it’s not impossible if it performs well, if not better, just like its predecessor. Dune (2021) grossed over $402 million against a budget of $165 million.
Dune (2021)
It’s actually more cost-effective than Marvel Studios’ The Marvels. Fans would remember how the infamous box-office bomb starring Brie Larson gave an underwhelming performance despite its lucrative marketing.
SUGGESTEDThe 1 Thing Jason Momoa Was Ready to Do for Denis Villeneuve Every Morning to Thank Him for Dune Dune Part 2 Budget And Potential Box Office Success
According to Variety, Timothée Chalamet’s Dune Part 2 reportedly cost $190 million. The hype around the movie is already gaining momentum so it’s not impossible if it performs well, if not better, just like its predecessor. Dune (2021) grossed over $402 million against a budget of $165 million.
- 2/21/2024
- by Ariane Cruz
- FandomWire
Back in August 2023, as two labor strikes were roiling Hollywood and preventing stars from promoting blockbusters, Warner Bros. and Legendary Pictures decided to postpone the release of “Dune: Part Two.” The studios feared that without Timothée Chalamet and Zendaya on the press circuit, the big-budget science fiction sequel wouldn’t live up to its box office potential on its initial November date.
“My first thought was ‘Oh, crap,'” remembers Chris Randleman, chief revenue officer of the Texas-based cinema chain Flix Brewhouse.
Like many theater operators, Randleman was devastated by the delay. Already, Christmastime was lacking a behemoth like a “Star Wars” or “Avatar” sequel, and there was hope “Dune: Part Two” — scheduled for Nov. 3 — would offset middling attendance around the holidays.
But even though a common refrain in the movie business has been that “Dune 2” can’t come soon enough, the fact is that it may be even...
“My first thought was ‘Oh, crap,'” remembers Chris Randleman, chief revenue officer of the Texas-based cinema chain Flix Brewhouse.
Like many theater operators, Randleman was devastated by the delay. Already, Christmastime was lacking a behemoth like a “Star Wars” or “Avatar” sequel, and there was hope “Dune: Part Two” — scheduled for Nov. 3 — would offset middling attendance around the holidays.
But even though a common refrain in the movie business has been that “Dune 2” can’t come soon enough, the fact is that it may be even...
- 2/20/2024
- by Rebecca Rubin
- Variety Film + TV
The fate of Sony’s Madame Web was already predetermined even before the movie’s release with fans trolling the official trailer and critics slamming it in their early reviews, but no one predicted Sydney Sweeney’s romantic comedy movie, Anyone But You, would emerge as a sleeper hit.
Dakota Johnson and Sydney Sweeney in Madame Web
The actress also starred in Madame Web as Julia Carpenter, though a lot of fans think she was miscast. Interestingly, Anyone But You and Madame Web were distributed by Sony, so it seems that the loss of the Marvel film could be offset by the success of the rom-com movie.
SUGGESTEDMadame Web Justifies Crucial Spider-Man Change as Only Way to Fight “Superhero Fatigue”, Fans Rip it to Shreds Regardless Anyone But You Beats Madame Web At The Box Office
According to Variety, Madame Web grossed over $17 million during its opening weekend and earned...
Dakota Johnson and Sydney Sweeney in Madame Web
The actress also starred in Madame Web as Julia Carpenter, though a lot of fans think she was miscast. Interestingly, Anyone But You and Madame Web were distributed by Sony, so it seems that the loss of the Marvel film could be offset by the success of the rom-com movie.
SUGGESTEDMadame Web Justifies Crucial Spider-Man Change as Only Way to Fight “Superhero Fatigue”, Fans Rip it to Shreds Regardless Anyone But You Beats Madame Web At The Box Office
According to Variety, Madame Web grossed over $17 million during its opening weekend and earned...
- 2/19/2024
- by Ariane Cruz
- FandomWire
Not too long ago, it would have been considered a box office suicide mission to pit any new release against a superhero movie.
But this weekend’s showdown of Sony’s comic book adaptation “Madame Web” versus Paramount’s musical biopic “Bob Marley: One Love” demonstrates that’s no longer the case — superhero tentpoles no longer hold all the power.
“One Love,” a PG-13 drama that’s aimed at older female audiences, towered over the newest Marvel (adjacent) flick, earning $52 million over the extended holiday weekend. Suspense thriller “Madame Web,” a “Spider-Man” spin-off starring Dakota Johnson as a paramedic with psychic abilities, generated a paltry $26 million over the same six-day period. It cost $80 million, so it will have a tough time turning a profit in its theatrical run since theater owners get to keep roughly half of ticket sales. The Bob Marley biopic carries a $70 million price tag so it...
But this weekend’s showdown of Sony’s comic book adaptation “Madame Web” versus Paramount’s musical biopic “Bob Marley: One Love” demonstrates that’s no longer the case — superhero tentpoles no longer hold all the power.
“One Love,” a PG-13 drama that’s aimed at older female audiences, towered over the newest Marvel (adjacent) flick, earning $52 million over the extended holiday weekend. Suspense thriller “Madame Web,” a “Spider-Man” spin-off starring Dakota Johnson as a paramedic with psychic abilities, generated a paltry $26 million over the same six-day period. It cost $80 million, so it will have a tough time turning a profit in its theatrical run since theater owners get to keep roughly half of ticket sales. The Bob Marley biopic carries a $70 million price tag so it...
- 2/19/2024
- by Rebecca Rubin
- Variety Film + TV
Updated: Paramount’s musical biopic “Bob Marley: One Love” ruled in its box office debut, beating expectations with $28.6 million over the traditional weekend and $52 million during the six-day holiday stretch.
It was initially projected to generate $30 million to $35 million between Valentine’s Day on Wednesday and Presidents’ Day on Monday. The film came in slightly above Sunday’s domestic estimates of $27.7 million for the three days and $51 million for the six. It experienced an uptick because audiences dug “One Love,” which landed an encouraging “A” CinemaScore from moviegoers. Critics weren’t as fond of the by-the-numbers retelling of Marley’s life and music career as evidenced by the film’s 43% rotten average on Rotten Tomatoes. Reinaldo Marcus Green (“King Richard”) directed and co-wrote the PG-13 “Bob Marley: One Love,” starring Kingsley Ben-Adir as the iconic reggae singer and Lashana Lynch as his wife Rita.
“My family and I are honored...
It was initially projected to generate $30 million to $35 million between Valentine’s Day on Wednesday and Presidents’ Day on Monday. The film came in slightly above Sunday’s domestic estimates of $27.7 million for the three days and $51 million for the six. It experienced an uptick because audiences dug “One Love,” which landed an encouraging “A” CinemaScore from moviegoers. Critics weren’t as fond of the by-the-numbers retelling of Marley’s life and music career as evidenced by the film’s 43% rotten average on Rotten Tomatoes. Reinaldo Marcus Green (“King Richard”) directed and co-wrote the PG-13 “Bob Marley: One Love,” starring Kingsley Ben-Adir as the iconic reggae singer and Lashana Lynch as his wife Rita.
“My family and I are honored...
- 2/18/2024
- by Rebecca Rubin
- Variety Film + TV
“Barbenheimer” may be the gift that keeps on giving.
After Greta Gerwig’s “Barbie” and Christopher Nolan’s “Oppenheimer” ignited the summer box office, the blockbusters with twin release dates are bringing populist energy to the Oscars. Yet the one-two punch of “Barbie” ($1.445 billion globally) and “Oppenheimer” ($957 million), along with a valiant assist from Martin Scorsese’s crime epic “Killers of the Flower Moon” ($156 million), can’t compete with the box office power of last year’s contenders.
Led by “Avatar: The Way of Water” ($2.3 billion) and “Top Gun: Maverick” ($1.5 billion), the 10 films up for best picture in 2023 were collectively the highest grossing in more than a decade, racking up $4.4 billion worldwide. This year’s candidates for the top prize were still widely seen, with a combined $2.7 billion globally to date. But these impressive hauls are considered outliers and stand in dramatic contrast to Oscars of yore, where there hasn...
After Greta Gerwig’s “Barbie” and Christopher Nolan’s “Oppenheimer” ignited the summer box office, the blockbusters with twin release dates are bringing populist energy to the Oscars. Yet the one-two punch of “Barbie” ($1.445 billion globally) and “Oppenheimer” ($957 million), along with a valiant assist from Martin Scorsese’s crime epic “Killers of the Flower Moon” ($156 million), can’t compete with the box office power of last year’s contenders.
Led by “Avatar: The Way of Water” ($2.3 billion) and “Top Gun: Maverick” ($1.5 billion), the 10 films up for best picture in 2023 were collectively the highest grossing in more than a decade, racking up $4.4 billion worldwide. This year’s candidates for the top prize were still widely seen, with a combined $2.7 billion globally to date. But these impressive hauls are considered outliers and stand in dramatic contrast to Oscars of yore, where there hasn...
- 2/12/2024
- by Rebecca Rubin
- Variety Film + TV
Agent Argylle couldn’t crack the box office code.
Matthew Vaughn’s globe-trotting spy comedy “Argylle” sputtered in its box office debut, earning a dismal $18 million from 3,605 North American theaters. The movie, backed by Apple and distributed by Universal, cost $200 million to produce and is shaping up to be the year’s first big misfire.
Despite terrible reviews and lousy audience scores (it holds a 35% on Rotten Tomatoes and “C+” on CinemaScore), “Argylle” ranked No. 1 at the domestic and global box office. The film added just $17.3 million from 78 international markets for a worldwide tally of $35.3 million.
Vaughn, the filmmaker of “The Kingsman” series and “X-Men: First Class,” intended to turn “Argylle” into a trilogy. But those grand plans are looking a lot less likely at this rate — unless there’s a dramatic uptick in ticket sales. Bryce Dallas Howard stars in “Argylle” as the reclusive author of a popular series of espionage novels.
Matthew Vaughn’s globe-trotting spy comedy “Argylle” sputtered in its box office debut, earning a dismal $18 million from 3,605 North American theaters. The movie, backed by Apple and distributed by Universal, cost $200 million to produce and is shaping up to be the year’s first big misfire.
Despite terrible reviews and lousy audience scores (it holds a 35% on Rotten Tomatoes and “C+” on CinemaScore), “Argylle” ranked No. 1 at the domestic and global box office. The film added just $17.3 million from 78 international markets for a worldwide tally of $35.3 million.
Vaughn, the filmmaker of “The Kingsman” series and “X-Men: First Class,” intended to turn “Argylle” into a trilogy. But those grand plans are looking a lot less likely at this rate — unless there’s a dramatic uptick in ticket sales. Bryce Dallas Howard stars in “Argylle” as the reclusive author of a popular series of espionage novels.
- 2/4/2024
- by Rebecca Rubin
- Variety Film + TV
Updated: The Plastics continue to rule the box office.
On Sunday, Paramount’s “Mean Girls” musical and Amazon MGM’s “The Beekeeper” both claimed victory in North America. But after an unusually close battle, “Mean Girls” emerged victorious — by roughly $200,000 — to claim the top spot. (Paramount believes that Sunday’s football schedule kept the male-dominated audience for “The Beekeeper” at home and in front of the TV.)
With the final results tallied on Monday, “Mean Girls” generated $6.9 million from 3,544 venues to win for the third consecutive weekend. Meanwhile, “The Beekeeper” brought in $6.7 million from 3,337 theaters in its third weekend of release. Both films came in slightly behind expectations of $7.4 million.
Either way, it’s a dreary time at the box office. It’s the second weekend in a row sans a new major studio release, which means that January is concluding with a whimper. Spy comedy “Argylle” (from Apple and Universal) opens on Feb.
On Sunday, Paramount’s “Mean Girls” musical and Amazon MGM’s “The Beekeeper” both claimed victory in North America. But after an unusually close battle, “Mean Girls” emerged victorious — by roughly $200,000 — to claim the top spot. (Paramount believes that Sunday’s football schedule kept the male-dominated audience for “The Beekeeper” at home and in front of the TV.)
With the final results tallied on Monday, “Mean Girls” generated $6.9 million from 3,544 venues to win for the third consecutive weekend. Meanwhile, “The Beekeeper” brought in $6.7 million from 3,337 theaters in its third weekend of release. Both films came in slightly behind expectations of $7.4 million.
Either way, it’s a dreary time at the box office. It’s the second weekend in a row sans a new major studio release, which means that January is concluding with a whimper. Spy comedy “Argylle” (from Apple and Universal) opens on Feb.
- 1/28/2024
- by Rebecca Rubin
- Variety Film + TV
The “Mean Girls” movie musical topped a sleepy box office as “I.S.S.,” a sci-fi thriller that takes place aboard the International Space Station, misfired in its opening weekend.
“Mean Girls” added $11.7 million in its second weekend of release, bringing its domestic tally to $50 million. Ticket sales dropped a steep 59% from its debut. However, the film’s decline is cushioned by its modest $36 million budget, which makes its box office performance outsized.
Overall, it’s been a desolate weekend for the movie theater business. To punctuate the box office doldrums, three movies in the top five were released around Christmas.
“With no big studio release, this weekend is the kind of ‘hole’ in the 2024 release schedule left by the strikes and pandemic,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research.
This weekend’s only newcomer “I.S.S.” crash-landed in seventh place, collecting just $3 million from 2,520 theaters in its debut.
“Mean Girls” added $11.7 million in its second weekend of release, bringing its domestic tally to $50 million. Ticket sales dropped a steep 59% from its debut. However, the film’s decline is cushioned by its modest $36 million budget, which makes its box office performance outsized.
Overall, it’s been a desolate weekend for the movie theater business. To punctuate the box office doldrums, three movies in the top five were released around Christmas.
“With no big studio release, this weekend is the kind of ‘hole’ in the 2024 release schedule left by the strikes and pandemic,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research.
This weekend’s only newcomer “I.S.S.” crash-landed in seventh place, collecting just $3 million from 2,520 theaters in its debut.
- 1/21/2024
- by Rebecca Rubin
- Variety Film + TV
There’s a new queen bee at the box office. Paramount’s “Mean Girls” musical ruled over the competition with $28 million over the weekend and $32 million through the Martin Luther King Jr. holiday on Monday.
Thanks to enduring love for the original 2004 film, an insanely quotable touchstone that turned Oct. 3 into a national holiday, and the power of TikTok, “Mean Girls” is proving the Plastics are still box office draws. The movie musical cost just $36 million and was initially commissioned for Paramount+ before enthusiastic test screenings convinced the studio to release it on the big screen.
Internationally, “Mean Girls” collected $6.5 million from 16 territories, representing less than half of its planned international footprint. The film opens next weekend in the U.K. and New Zealand, followed by other major territories.
Ticket buyers were unsurprisingly 76% female while 60% were under the age of 25. They gave the film a mixed “B” CinemaScore, which is...
Thanks to enduring love for the original 2004 film, an insanely quotable touchstone that turned Oct. 3 into a national holiday, and the power of TikTok, “Mean Girls” is proving the Plastics are still box office draws. The movie musical cost just $36 million and was initially commissioned for Paramount+ before enthusiastic test screenings convinced the studio to release it on the big screen.
Internationally, “Mean Girls” collected $6.5 million from 16 territories, representing less than half of its planned international footprint. The film opens next weekend in the U.K. and New Zealand, followed by other major territories.
Ticket buyers were unsurprisingly 76% female while 60% were under the age of 25. They gave the film a mixed “B” CinemaScore, which is...
- 1/14/2024
- by Rebecca Rubin
- Variety Film + TV
“Night Swim,” a supernatural thriller produced by horror mavens Jason Blum and James Wan, waded to second place in its debut. The film, marking the first nationwide release of the year, collected a moderate $12 million from 3,200 North American theaters.
Those ticket sales weren’t enough to topple “Wonka,” which claimed first place again with $14.4 million in its fourth weekend of release. “Night Swim” didn’t make a splash at the international box office with just $5.7 million from 36 markets, bringing its global tally to $17.7 million. The film cost $15 million, so it doesn’t have a high bar for profitability.
That’s probably a relief to Universal because neither audiences nor critics were fond of “Night Swim,” which holds a dismal 27% on Rotten Tomatoes and landed a “C” CinemaScore. It follows a family who finds out that an otherwordly presence haunts the backyard swimming pool in their new home. “Night Swim” the...
Those ticket sales weren’t enough to topple “Wonka,” which claimed first place again with $14.4 million in its fourth weekend of release. “Night Swim” didn’t make a splash at the international box office with just $5.7 million from 36 markets, bringing its global tally to $17.7 million. The film cost $15 million, so it doesn’t have a high bar for profitability.
That’s probably a relief to Universal because neither audiences nor critics were fond of “Night Swim,” which holds a dismal 27% on Rotten Tomatoes and landed a “C” CinemaScore. It follows a family who finds out that an otherwordly presence haunts the backyard swimming pool in their new home. “Night Swim” the...
- 1/7/2024
- by Rebecca Rubin
- Variety Film + TV
“Aquaman and the Lost Kingdom” is quickly sinking at the box office.
The comic book adventure, starring Jason Momoa as the King of Atlantis, was positioned on the calendar as the de facto blockbuster of the holiday season. But, so far, the follow-up to 2018’s megahit “Aquaman” has failed to recapture the spark of the original. The $205 million-budgeted tentpole caps off 2023, a terrible year for superhero movies, as the fourth consecutive flop for Warner Bros. and DC Studios following “The Flash,” “Shazam! Fury of the Gods” and “Blue Beetle.”
“Aquaman and the Lost Kingdom” swam to second place in its sophomore outing, collecting a soft $19.5 million over the weekend and an estimated $26 million through New Year’s Day on Monday. It has grossed $84 million domestically and $258 million globally after two weeks of release, on par with eventual comic book disappointments like “The Flash,” “The Marvels” and “Ant-Man and the Wasp: Quantumania.
The comic book adventure, starring Jason Momoa as the King of Atlantis, was positioned on the calendar as the de facto blockbuster of the holiday season. But, so far, the follow-up to 2018’s megahit “Aquaman” has failed to recapture the spark of the original. The $205 million-budgeted tentpole caps off 2023, a terrible year for superhero movies, as the fourth consecutive flop for Warner Bros. and DC Studios following “The Flash,” “Shazam! Fury of the Gods” and “Blue Beetle.”
“Aquaman and the Lost Kingdom” swam to second place in its sophomore outing, collecting a soft $19.5 million over the weekend and an estimated $26 million through New Year’s Day on Monday. It has grossed $84 million domestically and $258 million globally after two weeks of release, on par with eventual comic book disappointments like “The Flash,” “The Marvels” and “Ant-Man and the Wasp: Quantumania.
- 12/31/2023
- by Rebecca Rubin
- Variety Film + TV
“Aquaman and the Lost Kingdom” opened to $80 million at the international box office, which isn’t all that super considering those ticket sales are on par with eventual big-budget superhero disappointments like “The Flash,” “The Marvels” and “Ant-Man and the Wasp: Quantumania.”
The comic book sequel, starring Jason Momoa as the king of Atlantis and directed by James Wan, has generated $120 million globally to start, including a weak $40 million in North America. The Warner Bros. and DC film cost $205 million and is shaping up to be the latest underperforming tentpole for DC following this year’s string of misfires: “The Flash,” “Shazam! Fury of the Gods” and “Blue Beetle.”
Beyond the terrible reviews and mediocre audience scores, “Aquaman 2″ is struggling because it has been positioned as a lame duck in the DC Extended Universe. It’s the final installment before DC’s new bosses, James Gunn and Peter Safran, reset the sprawling superhero universe…...
The comic book sequel, starring Jason Momoa as the king of Atlantis and directed by James Wan, has generated $120 million globally to start, including a weak $40 million in North America. The Warner Bros. and DC film cost $205 million and is shaping up to be the latest underperforming tentpole for DC following this year’s string of misfires: “The Flash,” “Shazam! Fury of the Gods” and “Blue Beetle.”
Beyond the terrible reviews and mediocre audience scores, “Aquaman 2″ is struggling because it has been positioned as a lame duck in the DC Extended Universe. It’s the final installment before DC’s new bosses, James Gunn and Peter Safran, reset the sprawling superhero universe…...
- 12/24/2023
- by Rebecca Rubin
- Variety Film + TV
“Aquaman and the Lost Kingdom” failed to make a splash at the Christmas box office, debuting to $28 million over the weekend and an estimated $40 million through the four-day holiday weekend.
Those ticket sales were enough to top domestic charts over three other newcomers: Universal and Illumination’s animated “Migration,” Sydney Sweeney and Glen Powell’s romantic comedy “Anyone but You” and A24’s sports biopic “The Iron Claw.”
But Warner Bros. and DC Studio’s “Aquaman 2” has little to boast about beyond its No. 1 spot. The sequel cost $205 million and ranks among the worst debuts of the year for a superhero movie. It’s softer than November’s misfire “The Marvels” ($47 million), which ended its run as the lowest-grossing installment in the history of Disney’s Marvel Cinematic Universe. “The Marvels” was shocking because it was the rare MCU movie to tumble out of the gate.
By contrast, “Aquaman and the Lost Kingdom...
Those ticket sales were enough to top domestic charts over three other newcomers: Universal and Illumination’s animated “Migration,” Sydney Sweeney and Glen Powell’s romantic comedy “Anyone but You” and A24’s sports biopic “The Iron Claw.”
But Warner Bros. and DC Studio’s “Aquaman 2” has little to boast about beyond its No. 1 spot. The sequel cost $205 million and ranks among the worst debuts of the year for a superhero movie. It’s softer than November’s misfire “The Marvels” ($47 million), which ended its run as the lowest-grossing installment in the history of Disney’s Marvel Cinematic Universe. “The Marvels” was shocking because it was the rare MCU movie to tumble out of the gate.
By contrast, “Aquaman and the Lost Kingdom...
- 12/24/2023
- by Rebecca Rubin
- Variety Film + TV
“Wonka,” a fantasy musical starring Timothée Chalamet as the eccentric chocolatier, charmed in its box office debut, collecting $39 million over the weekend.
It’s a sweet start, as long as the $125 million-budgeted family film has momentum around the holidays. The good news for Warner Bros. is that December releases rarely generate huge opening weekends but tend to stick around on the big screen and show staying power through the new year. To that end, it’s promising that “Wonka” landed an “A-” CinemaScore from audiences. Critics have been kind as well, bestowing “Wonka” with an 83% “fresh” rating on Rotten Tomatoes. It’s a sign the PG film will be able to endure against competition from upcoming releases such as Universal and Illumination’s animated “Migration,” Warner’s musical adaptation of “The Color Purple” and the DC Comics sequel “Aquaman and the Lost Kingdom.”
“‘Wonka’ has the right tone for the...
It’s a sweet start, as long as the $125 million-budgeted family film has momentum around the holidays. The good news for Warner Bros. is that December releases rarely generate huge opening weekends but tend to stick around on the big screen and show staying power through the new year. To that end, it’s promising that “Wonka” landed an “A-” CinemaScore from audiences. Critics have been kind as well, bestowing “Wonka” with an 83% “fresh” rating on Rotten Tomatoes. It’s a sign the PG film will be able to endure against competition from upcoming releases such as Universal and Illumination’s animated “Migration,” Warner’s musical adaptation of “The Color Purple” and the DC Comics sequel “Aquaman and the Lost Kingdom.”
“‘Wonka’ has the right tone for the...
- 12/17/2023
- by Rebecca Rubin
- Variety Film + TV
Queen Bey is the new box office queen. “Renaissance,” a concert film written, directed and produced by Beyoncé, topped the domestic box office with $21 million in its opening weekend, slightly ahead of expectations.
These ticket sales rank as one of the best debuts for a concert film, joining the company of Taylor Swift’s “The Eras Tour” (far and away the biggest with $92.9 million), 2008’s “Hannah Montana & Miley Cyrus: Best of Both Worlds Concert” ($31.1 million), 2011’s “Justin Bieber: Never Say Never” and 2009’s “Michael Jackson: This Is It” ($23.2 million).
“Renaissance” provided a tidy box office bounty in what would have otherwise been a bleak kickoff to December. According to its distributor AMC Theatres, it’s the first time in two decades a film has opened to more than $20 million on the weekend following Thanksgiving, which is a notoriously slow time at the movies.
“This is an excellent domestic opening for a concert film,...
These ticket sales rank as one of the best debuts for a concert film, joining the company of Taylor Swift’s “The Eras Tour” (far and away the biggest with $92.9 million), 2008’s “Hannah Montana & Miley Cyrus: Best of Both Worlds Concert” ($31.1 million), 2011’s “Justin Bieber: Never Say Never” and 2009’s “Michael Jackson: This Is It” ($23.2 million).
“Renaissance” provided a tidy box office bounty in what would have otherwise been a bleak kickoff to December. According to its distributor AMC Theatres, it’s the first time in two decades a film has opened to more than $20 million on the weekend following Thanksgiving, which is a notoriously slow time at the movies.
“This is an excellent domestic opening for a concert film,...
- 12/3/2023
- by Rebecca Rubin
- Variety Film + TV
“Wish” misfired in its opening weekend, extending Disney’s bleak box office fortunes.
The animated musical fable, about the Wishing Star that so many Disney characters have wished upon over the studio’s century-long history, failed to become the de facto choice for families around Thanksgiving. “Wish” opened in third place with a dull $31.7 million over the five-day holiday, a far cry from Disney’s past Turkey Day feasts. Perhaps King Magnifico, the movie’s villain (voiced by Chris Pine), is holding hostage the wishes of Disney executives?
Instead of recapturing the studio’s magic, “Wish” joins a long list of its underperforming 2023 tentpoles, such as “The Marvels,” “Indiana Jones and the Dial of Destiny,” “The Haunted Mansion,” and “Ant-Man and the Wasp: Quantumania.” This summer’s “The Little Mermaid” didn’t completely flounder with $569 million worldwide, but it’s nowhere near the billion-dollar threshold that Disney’s prior live-action...
The animated musical fable, about the Wishing Star that so many Disney characters have wished upon over the studio’s century-long history, failed to become the de facto choice for families around Thanksgiving. “Wish” opened in third place with a dull $31.7 million over the five-day holiday, a far cry from Disney’s past Turkey Day feasts. Perhaps King Magnifico, the movie’s villain (voiced by Chris Pine), is holding hostage the wishes of Disney executives?
Instead of recapturing the studio’s magic, “Wish” joins a long list of its underperforming 2023 tentpoles, such as “The Marvels,” “Indiana Jones and the Dial of Destiny,” “The Haunted Mansion,” and “Ant-Man and the Wasp: Quantumania.” This summer’s “The Little Mermaid” didn’t completely flounder with $569 million worldwide, but it’s nowhere near the billion-dollar threshold that Disney’s prior live-action...
- 11/27/2023
- by Rebecca Rubin
- Variety Film + TV
Disney may need to find another star to wish upon.
“Wish,” the studio’s newest animated adventure, was projected to land on top of box office charts over the Thanksgiving holiday. Instead, ticket sales fell short of expectations with a weak $19.5 million over the traditional weekend and $31.7 million over the five days, and the film tumbled to third place behind Lionsgate’s “The Hunger Games” prequel “The Ballad of Songbirds and Snakes” and Ridley Scott’s historical epic “Napoleon.”
Heading into the weekend, the musical fable “Wish” was projected to earn $35 million over the traditional weekend and $45 million to $50 million in its first five days of release. Ticket sales weren’t as catastrophic as the studio’s 2022 flop “Strange World” ($12 million over the traditional weekend and $18 million through the five days), but it didn’t come anywhere close to 2021’s “Encanto,” which opened to $40.3 over its first five days when...
“Wish,” the studio’s newest animated adventure, was projected to land on top of box office charts over the Thanksgiving holiday. Instead, ticket sales fell short of expectations with a weak $19.5 million over the traditional weekend and $31.7 million over the five days, and the film tumbled to third place behind Lionsgate’s “The Hunger Games” prequel “The Ballad of Songbirds and Snakes” and Ridley Scott’s historical epic “Napoleon.”
Heading into the weekend, the musical fable “Wish” was projected to earn $35 million over the traditional weekend and $45 million to $50 million in its first five days of release. Ticket sales weren’t as catastrophic as the studio’s 2022 flop “Strange World” ($12 million over the traditional weekend and $18 million through the five days), but it didn’t come anywhere close to 2021’s “Encanto,” which opened to $40.3 over its first five days when...
- 11/26/2023
- by Rebecca Rubin
- Variety Film + TV
The odds were ever in favor of “The Hunger Games” prequel “The Ballad of Songbirds and Snakes,” which emerged victorious in a busy box office weekend despite opening slightly behind expectations.
The Lionsgate film, which brings audiences back to the dystopia of Panem for the first time in nearly a decade, collected $44 million from 3,776 North American theaters and $98 million globally in its first weekend of release. Those initial ticket sales didn’t recapture the spark of the original franchise, which propelled Jennifer Lawerence to global stardom and inspired three sequels. But they were enough to win the weekend over three fellow newcomers, Universal and DreamWorks Animation’s threequel “Trolls Band Together,” Sony’s gory thriller “Thanksgiving” and director Taika Waititi’s sports comedy “Next Goal Wins.”
With the glut of new offerings, ticket sales for Disney’s superhero sequel “The Marvels” cratered by 78% to land another ignominious record: the biggest...
The Lionsgate film, which brings audiences back to the dystopia of Panem for the first time in nearly a decade, collected $44 million from 3,776 North American theaters and $98 million globally in its first weekend of release. Those initial ticket sales didn’t recapture the spark of the original franchise, which propelled Jennifer Lawerence to global stardom and inspired three sequels. But they were enough to win the weekend over three fellow newcomers, Universal and DreamWorks Animation’s threequel “Trolls Band Together,” Sony’s gory thriller “Thanksgiving” and director Taika Waititi’s sports comedy “Next Goal Wins.”
With the glut of new offerings, ticket sales for Disney’s superhero sequel “The Marvels” cratered by 78% to land another ignominious record: the biggest...
- 11/19/2023
- by Rebecca Rubin
- Variety Film + TV
The Marvel Cinematic Universe set an ignominious record at the box office as its latest film The Marvels debuted with $47 million, the lowest-opening weekend in the history of the MCU.
The sequel to Captain Marvel — which had a $153 million opening weekend back in 2019 — already had low expectations prior to its November 10th opening, with box office forecasters expecting a $75 million debut.
However, perhaps due to a confluence of superhero fatigue, market oversaturation (two Marvels characters required you to have at least a basic understanding of the TV shows WandaVision and Ms. Marvel), uneven reviews,...
The sequel to Captain Marvel — which had a $153 million opening weekend back in 2019 — already had low expectations prior to its November 10th opening, with box office forecasters expecting a $75 million debut.
However, perhaps due to a confluence of superhero fatigue, market oversaturation (two Marvels characters required you to have at least a basic understanding of the TV shows WandaVision and Ms. Marvel), uneven reviews,...
- 11/12/2023
- by Daniel Kreps
- Rollingstone.com
Disney’s Marvel Cinematic Universe is no longer a bulletproof box office franchise.
That much is clear after “The Marvels” misfired with $47 million in its opening weekend to land the worst debut in MCU history. Initial tracking was closer to $75 million to $80 million, but those projections shrank dramatically in recent weeks to $60 million to $65 million. With bad buzz and actors like Brie Larson unable to promote the film due to the SAG strike (which finally ended on Friday), “The Marvels” didn’t even match those disappointing estimates.
Only two other films in the sprawling series (“The Marvels” is the 33rd installment in 15 years) have opened to lower than $60 million: 2008’s “The Incredible Hulk” with $55.4 million and 2015’s “Ant-Man” with $57.2 million, not adjusted for inflation. Although the MCU has been showing rare signs of wear and tear in its Spandex, the two other MCU adventures to open this year, February’s...
That much is clear after “The Marvels” misfired with $47 million in its opening weekend to land the worst debut in MCU history. Initial tracking was closer to $75 million to $80 million, but those projections shrank dramatically in recent weeks to $60 million to $65 million. With bad buzz and actors like Brie Larson unable to promote the film due to the SAG strike (which finally ended on Friday), “The Marvels” didn’t even match those disappointing estimates.
Only two other films in the sprawling series (“The Marvels” is the 33rd installment in 15 years) have opened to lower than $60 million: 2008’s “The Incredible Hulk” with $55.4 million and 2015’s “Ant-Man” with $57.2 million, not adjusted for inflation. Although the MCU has been showing rare signs of wear and tear in its Spandex, the two other MCU adventures to open this year, February’s...
- 11/12/2023
- by Rebecca Rubin
- Variety Film + TV
“Killers of the Flower Moon,” Apple’s first major theatrical release, has generated $120 million globally after three weekends of release.
Is that a good result for a movie backed by a streaming service? A terrible outcome for a glowingly received, $200 million crime epic directed by Martin Scorsese and starring Leonardo DiCaprio and Robert De Niro? Or somewhere in between? Everyone who follows the movie business has a different take, so parsing these ticket sales could take longer than the film’s daunting three-hour-and-26-minute run time.
“I don’t see how its current global box office puts it in a position to turn a profit,” says Eric Handler, a senior media and entertainment analyst at Roth Capital Partners. “It will need to drive a lot of new subscribers to Apple TV+.”
If a traditional studio released “Killers of the Flower Moon,” it would be branded a flop. And Scorsese’s...
Is that a good result for a movie backed by a streaming service? A terrible outcome for a glowingly received, $200 million crime epic directed by Martin Scorsese and starring Leonardo DiCaprio and Robert De Niro? Or somewhere in between? Everyone who follows the movie business has a different take, so parsing these ticket sales could take longer than the film’s daunting three-hour-and-26-minute run time.
“I don’t see how its current global box office puts it in a position to turn a profit,” says Eric Handler, a senior media and entertainment analyst at Roth Capital Partners. “It will need to drive a lot of new subscribers to Apple TV+.”
If a traditional studio released “Killers of the Flower Moon,” it would be branded a flop. And Scorsese’s...
- 11/7/2023
- by Rebecca Rubin
- Variety Film + TV
“Five Nights at Freddy’s” collapsed at the box office but still managed to emerge on top. Universal and Blumhouse’s fall sleeper hit has collected $19.4 million in its sophomore outing, resulting in a massive 76% decline from its debut.
Universal and Blumhouse’s spooky video game adaptation, which takes place in a haunted Chuck E. Cheese-esque establishment, has generated a towering $113 million to date. Despite the dramatic drop, “Five Nights at Freddy’s” earned far more than anyone expected with its $80 million opening weekend. So the second-weekend ticket sales are still decent for the $20 million-budgeted film, which landed simultaneously on the streaming service Peacock.
Though Peacock has far fewer subscribers than rivals, like Disney and Netflix, box office analysts suggest the day-and-date digital release is behind the mammoth decline in ticket sales. Even if that’s the case, “Five Nights at Freddy’s” is a massive commercial winner. After 10 days of release, it...
Universal and Blumhouse’s spooky video game adaptation, which takes place in a haunted Chuck E. Cheese-esque establishment, has generated a towering $113 million to date. Despite the dramatic drop, “Five Nights at Freddy’s” earned far more than anyone expected with its $80 million opening weekend. So the second-weekend ticket sales are still decent for the $20 million-budgeted film, which landed simultaneously on the streaming service Peacock.
Though Peacock has far fewer subscribers than rivals, like Disney and Netflix, box office analysts suggest the day-and-date digital release is behind the mammoth decline in ticket sales. Even if that’s the case, “Five Nights at Freddy’s” is a massive commercial winner. After 10 days of release, it...
- 11/5/2023
- by Rebecca Rubin
- Variety Film + TV
“Five Nights at Freddy’s” scared up $80 million at the domestic box office in its first weekend of release, above Sunday’s already-huge estimate of $78 million.
Universal and Blumhouse released the film, which landed simultaneously on Peacock. With Monday’s final figures, “Five Nights” has tied Disney’s 2021 Marvel adventure “Black Widow” ($80 million in theaters and $60 million on Disney+) as the biggest opening weekend for a day-and-date streaming release.
Though Disney reported the initial digital sales for “Black Widow,” which cost an extra $30 to rent on top of the monthly subscription fee, NBCUniversal didn’t share any tangible streaming metrics for “Five Nights.” However, the company claimed that “Five Nights at Freddy’s” has been the most-watched and biggest subscription driver on Peacock (which has far fewer subscribers than Disney+) since it dropped on Oct. 26. “Five Nights” is available at no extra charge to monthly subscribers.
Even with Sunday’s estimates, “Five Nights at Freddy’s...
Universal and Blumhouse released the film, which landed simultaneously on Peacock. With Monday’s final figures, “Five Nights” has tied Disney’s 2021 Marvel adventure “Black Widow” ($80 million in theaters and $60 million on Disney+) as the biggest opening weekend for a day-and-date streaming release.
Though Disney reported the initial digital sales for “Black Widow,” which cost an extra $30 to rent on top of the monthly subscription fee, NBCUniversal didn’t share any tangible streaming metrics for “Five Nights.” However, the company claimed that “Five Nights at Freddy’s” has been the most-watched and biggest subscription driver on Peacock (which has far fewer subscribers than Disney+) since it dropped on Oct. 26. “Five Nights” is available at no extra charge to monthly subscribers.
Even with Sunday’s estimates, “Five Nights at Freddy’s...
- 10/30/2023
- by Rebecca Rubin
- Variety Film + TV
“Five Nights at Freddy’s,” Universal and Blumhouse’s terrifying adaptation of the popular video game, made a killing in its box office debut with $80 million in North America and $132 million globally.
For a $20 million-budgeted horror film that landed simultaneously on streaming, these ticket sales would have been significant by the end of its theatrical run. In just three days of release, “Five Nights at Freddy’s” has already surpassed the entire global haul of 2022’s “Halloween Ends” ($104 million) and will soon overtake 2021’s “Halloween Kills” ($133 million) — which previously ranked as the biggest hybrid releases from Universal and Peacock. And unlike “Five Nights at Freddy’s,” those slasher films were sequels in a time-tested film franchise.
“Every studio should be taking note. This can be a game-changer, and another clear blueprint, for event-level horror films [and] game adaptations,” says Shawn Robbins, chief analyst at Boxoffice Pro, pointing to the communal appeal of horror films.
For a $20 million-budgeted horror film that landed simultaneously on streaming, these ticket sales would have been significant by the end of its theatrical run. In just three days of release, “Five Nights at Freddy’s” has already surpassed the entire global haul of 2022’s “Halloween Ends” ($104 million) and will soon overtake 2021’s “Halloween Kills” ($133 million) — which previously ranked as the biggest hybrid releases from Universal and Peacock. And unlike “Five Nights at Freddy’s,” those slasher films were sequels in a time-tested film franchise.
“Every studio should be taking note. This can be a game-changer, and another clear blueprint, for event-level horror films [and] game adaptations,” says Shawn Robbins, chief analyst at Boxoffice Pro, pointing to the communal appeal of horror films.
- 10/29/2023
- by Rebecca Rubin
- Variety Film + TV
Updated: Universal and Blumhouse’s funhouse thriller “Five Nights at Freddy’s” slayed box office expectations with its scary-good $80 million domestic debut over Halloween weekend. The final number came in slightly above Sunday’s estimates of $78 million.
Those ticket sales are especially impressive because the horror film landed simultaneously on Peacock, the streaming service owned by NBCUniversal. It ties the record for the best opening weekend for a day-and-date streaming release with Disney’s 2021 Marvel adventure “Black Widow” ($80 million in theaters and $60 million on Disney+). It’s also the best ever for Universal and Peacock’s hybrid releases, beating the slasher sequels, 2021’s “Halloween Kills” ($49 million) and 2022’s “Halloween Ends” ($40 million).
Heading into the weekend, “Five Nights at Freddy’s” was expected to collect at least $50 million, which would have been a huge start for the genre. It now stands as the biggest horror debut of the year, surpassing the starts of...
Those ticket sales are especially impressive because the horror film landed simultaneously on Peacock, the streaming service owned by NBCUniversal. It ties the record for the best opening weekend for a day-and-date streaming release with Disney’s 2021 Marvel adventure “Black Widow” ($80 million in theaters and $60 million on Disney+). It’s also the best ever for Universal and Peacock’s hybrid releases, beating the slasher sequels, 2021’s “Halloween Kills” ($49 million) and 2022’s “Halloween Ends” ($40 million).
Heading into the weekend, “Five Nights at Freddy’s” was expected to collect at least $50 million, which would have been a huge start for the genre. It now stands as the biggest horror debut of the year, surpassing the starts of...
- 10/29/2023
- by Rebecca Rubin
- Variety Film + TV
Taylor Swift’s movie is presiding over Martin Scorsese’s in North American theaters, but the “Mean Streets” director has outstripped the “Mean” singer at the international box office.
Scorsese’s “Killers of the Flower Moon,” a crime epic starring Leonardo DiCaprio and Robert De Niro, has generated $21 million from 63 overseas markets. In terms of weekend ticket sales, it’s pacing ahead of Swift’s “The Eras Tour,” which added $10.5 million in its second weekend of release. The pop star’s concert extravaganza has earned a sizable $164.78 million worldwide to date.
“Killers of the Flower Moon” took second place behind “Eras Tour” at the domestic box office, bringing in $23 million and boosting its global tally to $44 million. Outside of North America, the U.K. has been the biggest market for “Flower Moon” with $3 million, followed by France ($2.6 million), Germany ($1.6 million), Australia ($1.4 million) and Spain ($1.3 million). According to the film’s distributor,...
Scorsese’s “Killers of the Flower Moon,” a crime epic starring Leonardo DiCaprio and Robert De Niro, has generated $21 million from 63 overseas markets. In terms of weekend ticket sales, it’s pacing ahead of Swift’s “The Eras Tour,” which added $10.5 million in its second weekend of release. The pop star’s concert extravaganza has earned a sizable $164.78 million worldwide to date.
“Killers of the Flower Moon” took second place behind “Eras Tour” at the domestic box office, bringing in $23 million and boosting its global tally to $44 million. Outside of North America, the U.K. has been the biggest market for “Flower Moon” with $3 million, followed by France ($2.6 million), Germany ($1.6 million), Australia ($1.4 million) and Spain ($1.3 million). According to the film’s distributor,...
- 10/22/2023
- by Rebecca Rubin
- Variety Film + TV
Martin Scorsese’s star-studded crime epic “Killers of the Flower Moon” impressed in its box office debut, collecting $23 million from 3,628 North American theaters over the weekend.
Despite its second-place finish, it’s easily the best start of Scorsese career since 2010’s “Shutter Island” ($41 million debut), eclipsing the opening weekends of 2011’s “Hugo” ($11 million debut), 2013’s “The Wolf of Wall Street” ($18.3 million debut), 2016’s “Silence” ($7.1 million in its entire domestic run) and 2019’s “The Irishman” (which had a token theatrical release before landing on Netflix). And “Killers of the Flower Moon” managed to make a splash even though its stars, Leonardo DiCaprio and Robert De Niro, haven’t been able to promote the film amid the ongoing actors’ strike.
Even with its daunting three-and-a-half-hour runtime, the R-rated “Killers of the Flower Moon” has been embraced by moviegoers (landing an “A-” CinemaScore) and critics (92% on Rotten Tomatoes), which is a good sign...
Despite its second-place finish, it’s easily the best start of Scorsese career since 2010’s “Shutter Island” ($41 million debut), eclipsing the opening weekends of 2011’s “Hugo” ($11 million debut), 2013’s “The Wolf of Wall Street” ($18.3 million debut), 2016’s “Silence” ($7.1 million in its entire domestic run) and 2019’s “The Irishman” (which had a token theatrical release before landing on Netflix). And “Killers of the Flower Moon” managed to make a splash even though its stars, Leonardo DiCaprio and Robert De Niro, haven’t been able to promote the film amid the ongoing actors’ strike.
Even with its daunting three-and-a-half-hour runtime, the R-rated “Killers of the Flower Moon” has been embraced by moviegoers (landing an “A-” CinemaScore) and critics (92% on Rotten Tomatoes), which is a good sign...
- 10/22/2023
- by Rebecca Rubin
- Variety Film + TV
Looking to cap off a long Tuesday in the office by rocking out during a screening of Taylor Swift’s “The Eras Tour” concert film? Well, you may be out of luck.
The cinematic rendering of Swift’s epic stadium tour is only playing in theaters on Thursdays, Fridays, Saturdays and Sundays. This unconventional scheduling may be chalked up to the unique nature of “The Eras Tour,” which is designed to feel more like a concert and less like a movie. “Eras attire, friendship bracelets, singing and dancing encouraged,” Swift told her fans.
By restricting showtimes to the weekends, Team Swift hopes there’s a better chance that audiences will be able to watch the concert extravaganza with a packed crowd rather than in the half-empty auditoriums that usually greet midweek moviegoers. In order to offset the reduced showtimes, exhibitors are trying to schedule as many screenings as they can...
The cinematic rendering of Swift’s epic stadium tour is only playing in theaters on Thursdays, Fridays, Saturdays and Sundays. This unconventional scheduling may be chalked up to the unique nature of “The Eras Tour,” which is designed to feel more like a concert and less like a movie. “Eras attire, friendship bracelets, singing and dancing encouraged,” Swift told her fans.
By restricting showtimes to the weekends, Team Swift hopes there’s a better chance that audiences will be able to watch the concert extravaganza with a packed crowd rather than in the half-empty auditoriums that usually greet midweek moviegoers. In order to offset the reduced showtimes, exhibitors are trying to schedule as many screenings as they can...
- 10/16/2023
- by Rebecca Rubin
- Variety Film + TV
Taylor Swift may have singlehandedly salvaged the fall box office with “The Eras Tour.” The cinematic rendering of her sold-out stadium tour danced into theaters not just as a blockbuster, but a cultural phenomenon.
With $95 million to $97 million in its domestic debut and $130 million globally, it’s easily the best start of all time for a concert film, as well as one of the biggest opening weekends of the year. At the higher end of projections, it could be the top-grossing October debut in North American history, a record currently held by 2019’s “Joker” with $96 million.
“This October, without Taylor Swift, would have been awful,” says Jeff Bock, an analyst with Exhibitor Relations. “This is a huge bright spot.”
And Swift, who self-produced the concert film, shook up every aspect of the movie theater business — from top-tier pricing to unconventional distribution and marketing to lax cell phone etiquette — in the process.
With $95 million to $97 million in its domestic debut and $130 million globally, it’s easily the best start of all time for a concert film, as well as one of the biggest opening weekends of the year. At the higher end of projections, it could be the top-grossing October debut in North American history, a record currently held by 2019’s “Joker” with $96 million.
“This October, without Taylor Swift, would have been awful,” says Jeff Bock, an analyst with Exhibitor Relations. “This is a huge bright spot.”
And Swift, who self-produced the concert film, shook up every aspect of the movie theater business — from top-tier pricing to unconventional distribution and marketing to lax cell phone etiquette — in the process.
- 10/16/2023
- by Rebecca Rubin
- Variety Film + TV
“Taylor Swift: The Eras Tour” is towering over the global box office with estimates of $126 million to $130 million in its first weekend of release. It’s a seismic start for any concert film, but this is particularly impressive because it was announced just six weeks ago and unspooled on the big screen with minimal marketing dollars.
“The Eras Tour” which is produced by Swift and distributed by AMC Theatres, collected a projected $31 million to $33 million from 94 international markets. It ranked as No. 1 in the United States with estimates of $95 million to $97 million, as well as the United Kingdom, Mexico, Australia, Germany and the Philippines.
Studios typically report a firmer number at this point, but AMC Theatres noted that “without clear comparisons, Sunday box office projections remain a range.” Already, “The Eras Tour” landed the biggest debut for a concert film in history, outpacing the previous record set by 2009’s “Michael...
“The Eras Tour” which is produced by Swift and distributed by AMC Theatres, collected a projected $31 million to $33 million from 94 international markets. It ranked as No. 1 in the United States with estimates of $95 million to $97 million, as well as the United Kingdom, Mexico, Australia, Germany and the Philippines.
Studios typically report a firmer number at this point, but AMC Theatres noted that “without clear comparisons, Sunday box office projections remain a range.” Already, “The Eras Tour” landed the biggest debut for a concert film in history, outpacing the previous record set by 2009’s “Michael...
- 10/15/2023
- by Rebecca Rubin
- Variety Film + TV
Long live the new box office queen.
After selling out stadiums across the country, Taylor Swift is filling movie theaters with “The Eras Tour” concert film, which ignited to estimates of $95 million to $97 million over the weekend. Studios typically report a firmer number at this point, but “without clear comparisons, Sunday box office projections remain a range,” the film’s official distributor AMC Theatres said in a note to press. Rivals have suggested the final tally could be closer to $94 million.
It’s still a remarkable start for a concert film that was announced just six weeks ago and landed on the big screen with minimal promotion outside of Swift posting on social media to her 350 million followers.
At the international box office, “Eras Tour” collected $31 million to $33 million, putting its initial global tally between $126 million to $130 million.
During its first weekend in theaters, “The Eras Tour” became the highest-grossing...
After selling out stadiums across the country, Taylor Swift is filling movie theaters with “The Eras Tour” concert film, which ignited to estimates of $95 million to $97 million over the weekend. Studios typically report a firmer number at this point, but “without clear comparisons, Sunday box office projections remain a range,” the film’s official distributor AMC Theatres said in a note to press. Rivals have suggested the final tally could be closer to $94 million.
It’s still a remarkable start for a concert film that was announced just six weeks ago and landed on the big screen with minimal promotion outside of Swift posting on social media to her 350 million followers.
At the international box office, “Eras Tour” collected $31 million to $33 million, putting its initial global tally between $126 million to $130 million.
During its first weekend in theaters, “The Eras Tour” became the highest-grossing...
- 10/15/2023
- by Rebecca Rubin
- Variety Film + TV
“The Exorcist: Believer,” a reboot in the legacy horror franchise, opened atop box office charts despite falling short of expectations.
The film, from Universal and Blumhouse, collected $27.2 million from 3,663 North American venues over the weekend, below estimates that suggested a debut closer to $35 million. “Believer” also opened at the international box office with $17.8 million for a global start of $45.1 million. The “Exorcist” sequel cost $30 million, so it’s well-positioned in its theatrical run.
But reviews (23% on Rotten Tomatoes) and audience scores (“C” CinemaScore) were terrible, so the studio may need to reconsider its strategy before the next installment opens in 2025. Universal spent a staggering $400 million to buy the rights to the terrifying property, with plans to at least develop a trilogy around these supernatural battles with the devil. They need moviegoers to feel invested in the series beyond this installment to justify that massive deal.
“This is a good opening...
The film, from Universal and Blumhouse, collected $27.2 million from 3,663 North American venues over the weekend, below estimates that suggested a debut closer to $35 million. “Believer” also opened at the international box office with $17.8 million for a global start of $45.1 million. The “Exorcist” sequel cost $30 million, so it’s well-positioned in its theatrical run.
But reviews (23% on Rotten Tomatoes) and audience scores (“C” CinemaScore) were terrible, so the studio may need to reconsider its strategy before the next installment opens in 2025. Universal spent a staggering $400 million to buy the rights to the terrifying property, with plans to at least develop a trilogy around these supernatural battles with the devil. They need moviegoers to feel invested in the series beyond this installment to justify that massive deal.
“This is a good opening...
- 10/8/2023
- by Rebecca Rubin
- Variety Film + TV
“The Expendables 4,” an action-thriller starring Sylvester Stallone and Jason Statham, misfired in its box office debut, tumbling to a franchise-low $8.3 million.
It landed in ever-so-slightly second place behind “The Nun,” which collected $8.4 million in its third weekend. These ticket sales resulted in the lowest-grossing box office weekend of the year as not a single film managed to clear $10 million.
Despite the abysmal results, there are reasons to be more optimistic about the future of theatrical. Studios may be close to a deal with the writers on strike, and there’s hope that means a similar agreement could be looming or the actors union as well. This would give stars the ability to promote their upcoming films, which in turn could goose box office returns. The Game Stop stock-inspired “Dumb Money” and Kenneth Branagh’s murder mystery “A Haunting in Venice,” both of which have ensembles filled with famous faces,...
It landed in ever-so-slightly second place behind “The Nun,” which collected $8.4 million in its third weekend. These ticket sales resulted in the lowest-grossing box office weekend of the year as not a single film managed to clear $10 million.
Despite the abysmal results, there are reasons to be more optimistic about the future of theatrical. Studios may be close to a deal with the writers on strike, and there’s hope that means a similar agreement could be looming or the actors union as well. This would give stars the ability to promote their upcoming films, which in turn could goose box office returns. The Game Stop stock-inspired “Dumb Money” and Kenneth Branagh’s murder mystery “A Haunting in Venice,” both of which have ensembles filled with famous faces,...
- 9/24/2023
- by Rebecca Rubin
- Variety Film + TV
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